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Bonus Advent cantata

10 Sunday Dec 2017

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In Leipzig in Bach’s time, the almost period between the first Sunday of Advent and Christmas was a “tempus clausum,” when no figural music was allowed in the churches. So if I would follow Bach’s cantata writing in 1724 very strictly, I would not have any music for you today.

So let’s take a detour to 1725. Sometime in that year, Bach wrote a congratulatory cantata for a teacher at the St. Thomas School in Leipzig. The cantata, with the title Schwingt freudig euch empor, had nine movements: an opening chorus, four recitatives and three arias. The cantata also featured a closing chorus alternated with recitatives for all the soloists, the way Bach would also use that in the before-last movement of his St. Matthew Passion. For the text of this cantata, please see this entry on Eduard van Hengel’s website. Scroll all the way down to find a table with all the different texts for the different cantatas.

In the fall of 1726, Bach received a request from his previous employer, prince Leopold of Köthen, to write a cantata for this birthday of his second wife, princess Charlotte Friederike Wilhelmine, on November 26 of that year. Scholars think that at the same time Bach was reworking this cantata from 1725 into this Birthday cantata, he was also reworking it into an Advent cantata. However the music of that particular cantata has not survived.

In 1731 Bach again, or finally, was able to make the original of 1725 into an Advent cantata, by replacing all the recitatives with chorales. This is cantata 36 Schwingt freudig euch empor, one of three cantatas for the first Sunday of Advent that have survived. (The other two are Cantata 61 I discussed last year, and Cantata 62 I discussed last week). Again please see Eduard van Hengel’s table of the different texts of all the various cantatas here. Find the English translations of Cantata 36 here, and find the score of Cantata 36 here.

My favorite recording of the entire cantata is the one by Herreweghe from 1997 (from the same album I discussed last week). I like this recording the best because of the most sparkling interpretation of the opening chorus, gorgeous singing by Christoph Prégardien in the tenor solos and by Peter Kooy in the bass aria, and a wonderful soprano/alto duet by Sybilla Rubens and Sarah Connolly. Find this recording here on YouTube. Or follow the links in my post from last week to purchase the entire album of Advent cantatas by Herreweghe. It is a great Christmas gift 🙂 !

If you prefer to watch a live recording, I recommend the one by the J.S. Bach Foundation. They just released the entire video recording of this cantata this week, and this performance contains my absolute favorite interpretation of the soprano aria by Nuria Rial.

Wieneke Gorter, December 9, 2017

Cantata 62: one of my favorite opening choruses and a magnificent bass aria

02 Saturday Dec 2017

Posted by in Advent, Bach's life, Cantatas, Chorale cantatas 1724/1725, Leipzig

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Adventskranz 1. Advent

I don’t know if it is because the oboes already announce the chorale melody in the instrumental part of this opening chorus, or because of the overall Advent sparkle, but I have always found the first movement of Cantata 62 Nun komm der Heiden Heiland one of the most beautiful of all Bach’s cantata opening choruses. I especially cherish the Herreweghe recording from 1997. Find that recording here on YouTube. Soloists are Sibylla Rubens, soprano; Sarah Connolly, alto; Christoph Prégardien, tenor; and Peter Kooij, bass. This cantata also features an impressive recitative and aria for bass.

I remember an anecdote from my mom’s time as a member of the Twents Bachkoor, somewhere in the early 1980s. Bass soloist Harry van der Kamp showed up for an Advent concert, thinking he was coming to sing the other cantata with the same Nun komm der Heiden Heiland title, Cantata 61, which includes a beautiful recitative for bass (discussed on this blog here), but nothing really challenging for bass otherwise. He found out during the warm-up rehearsal that it was in fact 62. He did a fabulous job and part of my admiration for him stems from witnessing that as an audience member during that concert.

In the bass recitative, listen for Bach’s musical illustration of the words “laufen” (walking — upwards sequence), “Gefall’ne” (fallen — 7th down), and “heller Glanz” (bright luster — a sparkling highest note).

Find the text of Cantata 62 here, and the score here.

Bach wrote this cantata for the first Sunday in Advent in Leipzig in 1724, as part of his series of chorale cantatas of 1724/1725. For nine and a half months, starting on June 11, 1724, he would write every cantata according to this same template: the opening movement is a chorale fantasia on the first stanza of an existing Lutheran hymn or chorale, with the tune appearing as a cantus firmus. The last movement has the last stanza of the same hymn as text, in a four-part harmonization of the tune. The text of those choral, outer movements was used verbatim, while the text of the solo, inner movements was paraphrased, but still based on the inner stanzas of the same hymn.

I have been following all these chorale cantatas in the order they were written in 1724 on this blog. If you missed it, you can start reading here. If you subscribe to this blog (on the left-hand side of this text when reading on a desktop computer, or at the bottom of this text when reading on a smartphone) you will receive an email every time I have posted a new story.

There is also a wonderful live performance by Herreweghe of this cantata on YouTube, albeit with different soprano, alto, and tenor soloists (Grace Davidson, soprano; Damien Guillon, countertenor; Thomas Hobbs, tenor), but again with Peter Kooij singing bass, and again Marcel Ponseele playing first oboe. It was recorded in the St. Roch Church in Paris in 2015 and you can find it here on Youtube. The camera direction in the beginning is a bit strange: perhaps the TV director didn’t know the piece or didn’t have the score in front of her/him, because the camera is on the altos when the sopranos have an entrance, and on the back of the basses and tenors when the altos have an entrance, but later on it gets better, and it is a wonderful selection of Advent and Christmas cantatas they present there in that concert.

The CD recording from 1997  is part of a very good album, which also includes the two other Advent cantatas: Cantata 36 Schwingt freudig euch empor from 1731 (more about this in the next few weeks) and Cantata 61 Nun komm der Heiden Heiland from 1713 (discussed here on this blog). Please consider supporting the artists by purchasing this album in its reprint from 2014. Or purchase the box from 2010, which also includes two CDs with Christmas cantatas.

Wieneke Gorter, December 2, 2017.

Starlight shining on a Trinity cantata

15 Sunday Oct 2017

Posted by in Cantatas, Epiphany, Leipzig, Trinity

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threekings

The Three Kings, on one of four panels of an altar from Rottweil, Germany.

I would like to dedicate this post to my friends in the Santa Rosa, Napa, and Mendocino areas who are living with enormous stress and challenges due to the fires raging up there. They can all use a silver lining, and the cantata from 1724 for this 18th Sunday after Trinity has an abundance of it.

All this time in the summer and fall of 1724, Bach was writing chorale cantatas, meaning that each cantata would be based on a hymn, if possible one of the ones associated with that particular Sunday in the church year.  For this reason he chose Herr Christ, der einige Gottessohn (Lord Christ, the only son of God) for this cantata with the same title.

Overall, I prefer Ton Koopman’s recording of this cantata 96 Herr Christ, der einige Gottessohn. Listen to that recording here on YouTube, or here on Spotify. Soloists are Deborah York, soprano; Franziska Gottwald, alto; Paul Agnew, tenor; Klaus Mertens, bass; Heiko ter Schegget, sopranino recorder; and Wilbert Hazelzet, transverse flute.

Find the German text with English translation here.

In the Lutheran Church the chorale Herr Christ, der einige Gottessohn, one of the oldest Protestant hymns, was not so much associated with this Sunday, but more with Epiphany/Three Kings, January 6, for its reference to the Morning Star. Bach brings the luster of the Christmas season into this cantata in the most beautiful way. He gives the opening chorus a dusting of starlight by writing a part for flauto piccolo, or sopranino recorder, over the rest of the vocal and instrumental parts. Because in this opening chorus the altos have the chorale melody (doubled by a cornetto, on this recording played by Arno Paduchn), Bach can create an ethereal link between the chorus and the flauto piccolo by way of the soprano part in the chorus. In the fifth line of the text, Er ist die Morgensterne (he is the Morning Star), he modulates to the brilliant key of E Major on the word Morgensterne.

The alto recitative and tenor aria that follow refer to the fact that Jesus is God’s son, not David’s son. This is the only direct reference to the Gospel reading for this Sunday: Jesus giving the Jewish elders a hard time when they claimed that he was only David’s son, not God’s son (Matthew 22: 34-46).  In the tenor aria, fabulously sung by Paul Agnew, Bach features his flute player again.

The soprano recitative moves the focus to Jesus as guiding light, referring to the “he is the Morning Star” text from the chorale. The soprano’s statement that it can be hard to stay on the “right path” is illustrated in the bass aria.

Please listen to Peter Kooy’s interpretation of this aria on the Bach Collegium Japan recording, here on YouTube. We have heard faltering steps in Bach cantatas before (read my post about that here), but this time Bach offers a more theatrical illustration. In the St. Thomas Church in Leipzig a visual and aural effect would have made this even stronger: the violins, at least in the beginning playing when the bass sings “zu rechten” (now to the right), would have stood on the right-hand balcony, the oboes, playing when the bass sings “zu linken” (now to the left) would have stood on the left-hand balcony. Also, in Bach’s rhetoric, right meant good and high, left meant bad and low.

The middle part of this cantata, with the text “Gehe doch, mein Heiland, mit” (My saviour please come with me) always moves me. I hope that the people affected by the California fires will continue to reach out and that the concerned and caring community will continue to offer support in the weeks and months to come, because this will be a long haul.

 

Wieneke Gorter, October 15, 2017.

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A Discovery for Third Christmas Day

27 Tuesday Dec 2016

Posted by in Bach's life, Cantatas, Christmas, Leipzig

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First page of Bach’s original score for cantata 64 Sehet, welch eine Liebe hat uns der Vater erzeiget for the Third Day of Christmas. Staatsbibliothek zu Berlin (Amalienbibliothek), Berlin.

The third cantata of Bach’s Christmas Oratorio was very popular in our house, and it was my sister’s all-time favorite. That is probably why I had never heard the beautiful cantata 64 Sehet, welch eine Liebe hat uns der Vater erzeiget before doing research for this blog, even though it has trombones in the opening chorus and in all three (!) chorales, and Peter Jelosits is singing the soprano aria on the Harnoncourt recording.

Listen to Bach Collegium Japan’s recording of cantata 64 on Spotify. Soloists: Yukari Nonoshita, soprano; Robin Blaze, countertenor; Peter Kooij, bass. With Concerto Palatino: Yoshimichi Hamada, cornetto; Simen van Mechelen, Charles Toet, and Wim Becu, trombones.

Find the text here, and the score here.

Bach wrote this cantata in 1723 and the structure, with the three chorales, is very similar to cantata 40 from yesterday, written that same year.

During his four-week  Advent Break that first year in Leipzig (he repeated a Weimar cantata on the first Sunday of Advent, and was not to perform any music in the churches for the next three Sundays), Bach wrote six new cantatas for the period from December 26, 1723, to January 9, 1724 (cantatas 40, 64, 190, 153, 65, and 154). But that was not all. For Christmas Day 1723, he supplemented cantata 63 from Weimar with a newly written Magnificat. Knowing how hard it is for a choir to sing that Magnificat (on the same level as the Mass in B Minor and the Motets), it is clear that Bach did not have a “break” at all, but was very busy rehearsing his choir in addition to writing all this new music.

Wieneke Gorter, December 27, 2016.

Second Christmas Day

26 Monday Dec 2016

Posted by in Cantatas, Christmas, Leipzig

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adoration_of_the_shepherds_1622

Adoration of the Shepherds by Dutch painter Gerard van Honthorst, 1622. Pommersches Landesmuseum (Pomerania State Museum), Germany.

What was I thinking? Promising you yesterday that I would be back today with a post about Second Christmas Day? Should I not just celebrate Christmas with my family, go on hikes, play puzzles, listen to music, and cook and bake? Well, that’s what I did last year, but I also remember that this made me extremely frustrated. I felt a strong urge to share all the beautiful cantatas for this catata-rich time of year with others, and that was the whole reason I started my blog on January 6 of this year.

So, here I am with my post for Second Christmas Day. In Bach’s time, there were three Christmas Days. In many countries in Europe there are still two Christmas Days. In the Netherlands, a country so small that you can easily travel to all your relatives within a day, people are expected to visit one side of the family on Christmas Day, and the other side on Second Christmas Day. Or at least that is how I remember it.

Of course, you could continue listening to the Christmas Oratorio, via the links for either Harnoncourt’s recording or Herreweghe’s recording I gave you yesterday. The second cantata is a charming one, evoking the pastoral scene of the shepherds on the field. But this composition has never grabbed or moved me the way the first or fourth cantata of the Christmas Oratorio do. The cantata I am eager to share with you today is cantata 40 Darzu ist erschienen der Sohn Gottes, written for Second Christmas Day in 1723.

The interpretation I grew up with is Harnoncourt’s recording from 1974, with countertenor René Jacobs, tenor Marius van Altena, and bass Max van Egmond. Find the text here, and the score here.

This cantata is really Christmas for me. I don’t know exactly why: perhaps because on Second Christmas Day we didn’t have to go to church, so I associate it with a more relaxed, unscheduled day. Perhaps because of the horns in the orchestra in the opening chorus and the tenor aria (I have a soft spot for horns or trombones in Bach cantatas), because of the impressive “Höllische schlange” (Snake of Hell) bass aria (yes, I have a soft spot for bass arias too), or because of the closing chorale that is so pretty, going up so high on the text Wonne, Wonne über Wonne! Er ist die Genadensonne. (Delight, delight upon delight! He is the son of mercy.) I sang this cantata in a Bach cantata reading group mid November this year, sitting directly behind the horns, standing next to one of my best friends, and I couldn’t believe my luck I got to sing this closing chorale.

Wieneke Gorter, December 26, 2016.

Our Christmas Morning

24 Saturday Dec 2016

Posted by in Cantatas, Christmas, Leipzig

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nativity_c_1490

Nativity at Night by Dutch painter Geertgen tot Sint Jans, ca. 1490. National Gallery, London.

Growing up in the Netherlands, my sister and I did not expect gifts at Christmas, and certainly not under the tree. We had already received our gifts on the eve of St. Nicholas, December 5. At the dinner with relatives on Christmas Day, we would maybe receive one book, or a small piece of jewelry. It would be well coordinated between mother and grandmother that this would amount to only one present per person, and it would be next to our plate when we arrived at the extremely well-dressed Christmas dinner table.

However Christmas Morning was something we immensely looked forward to. The Christmas Morning breakfast was the most wonderful breakfast of the year, even better than the Easter breakfast. We would have crispy rolls from the oven, artisan sliced ham, boiled eggs, cheese, jams, and of course the sweet breakfast sprinkles American kids can’t believe Dutch kids get to eat for breakfast. And Kerststol, or Christmas Stollen, a fruit bread with an almond paste filling.

There was an unwritten rule that my parents would set out the breakfast (including my father carving a bell or Christmas tree out of the butter) and us kids would stay in bed until my mom would sound the special alarm. And the special alarm was: Harnoncourt’s recording of the opening chorus of Part One of Bach’s Christmas Oratorio at full volume, the sound of the timpani rocking the whole house. Whether you listen to Harnoncourt’s recording or Herreweghe’s recording (which nowadays sounds in my house on Christmas Morning), if you want to reproduce my childhood experience, make sure someone turns it off after the first cantata is over. Under no circumstances would my mom play the second cantata on Christmas Day.

Read more about the history of Christmas in Europe and the USA in this extremely interesting article and join me again tomorrow for a cantata for Second Christmas Day.

Wieneke Gorter, December 24, 2016